坐天观井：
　　从生看到死，从死回看生；
　　从天堂看到地狱，从地狱回望天堂；
　　从开始看到结束，从结束回顾起始。
　　希罗尼穆斯?博斯的“人间乐园”是一幅三联画，通常的解释是左联是天堂，中联是人间, 右联是地狱。面对这样一张画，我想做两件事情。
　　第一件事情是：通过三维软件将原画由三联画改造为九联画，由一个视点改为七个视点。三个正面屏风的视点与原先的绘画相同，分别看到的是天堂、人间和地狱；其余六个侧面屏风的视点是后加的，在将原画从二维改为三维的场景之后，侧面屏风反映的是从侧面来观看这三个场景，而且把这三个场景联系在了同一个画面上。从天堂越过人间一直看到地狱，反过来也可从地狱回望人间和天堂；从生看到死，从死回看生；从开始看到结束，从结束回顾起始。
　　第二件事情是：将古代的寓言改成现代的寓言。原画场面宏大，人物众多，充满了无数无法解读的细节。也许对于希罗尼穆斯?博斯的同时代人来说，这些比喻都是不言而喻的，而对于身处另一个语境的现代人来说却变得晦涩难懂，扑朔迷离。于是，我想用我这个时代的语言建立新的谜团，用来隐喻我对这个世界的理解和对生与死的看法，也用来代替对另一个时代谜团的刨根问底。
　　从时间和空间的另一端看过来，要放大多少倍，我们的世界才能被发现---
　　我们的诞生才算得上是诞生
　　我们的死亡才算得上是死亡
　　快乐才算是快乐
　　痛苦才算是痛苦?
　　山才能显得高
　　海才能显得深?
　　“Remould Project” 2008 by Miao Xiaochun
　　Microcosm  
　　To see death from birth, and birth from death;
　　To see hell from heaven, and heaven from hell;
　　To see the end from the beginning, and the beginning from the end. 
　　The Garden of Earthly Delights by Hieronymus Bosch is a triptych. It is commonly recognized that the left wing represents heaven, the central panel earth, and the right wing hell. Facing such a painting, I would like to do two things: 
　　First: remoulding the original triptych into a nine-panel painting, and remoulding one perspective into seven perspectives using three-dimensional software. The three front panels have the same perspective as the original painting where heaven, earth and hell are shown. The other six side panels are added to show further perspectives. After remoulding the two-dimensional painting into a three-dimensional scene, the side panels reflect various perspectives by examining the original three scenes, now linked together on the same dimension, from different viewpoints. From heaven, surpassing earth, one can directly see hell, and from hell one can also look back at earth and heaven; from birth we see death, and from death we look back at birth; from the beginning we view the end, and from the end we review the beginning.  
　　Second: remoulding an ancient fable into a modern fable. The original painting shows a spectacular scene with numerous characters, and it is depicted with countless details which cannot easily be interpreted. Maybe for Hieronymus Bosch's contemporaries, all of these details were explicitly obvious. Yet for modern people who are situated in a different context, these details appear obscure, bewildering and confusing. Thus, I would like to use our modern language to create a new set of mysteries, to implicitly express my views about the world, my understandings of existence and death, and this is an alternative way of digging into the roots of mysteries belonging to other times.  
Looking from another perspective of space and time, how many times do we have to magnify it, so that our own world can be found ---
　　Is our birth really birth
　　Our death really death
　　Happiness really happiness
　　And pain really pain?
　　How many times do we have to magnify it, so that
　　Mountains appear high
　　And oceans deep?

作者：缪晓春